IFJ: You made short films before your first feature. I set up the graphics so that with a key stroke, Erin was able to enter what her message is, then a few seconds later the reply would pop up for her to react to. So while we shot the scene with the actor, Erin was able to see the text chat actually play out on the screen in front of her.
Feature cam post editing movie#
For example, in a scene where Gessica, our protagonist is in the middle of a text chat with a client on her laptop, I made those graphics of the text you see in the movie before production. This also helped the actors with their performances during production. I have a Bachelor’s Degree in Computer Animation.
Feature cam post editing free#
I wrote the script knowing I could handle the visual effects shots and add some free production value to the movie. Write what you have access to is the main adage they say about indie filmmaking. IFJ: Did your background in computer animation and visual effects inform how you made Cam-Girl?ĬW: Yes. The way David Fincher used visual effects to create shots that are impossible with a physical camera really opened my eyes.Īs for what types of movies were influences for Cam-Girl, the main ones are Hard Candy (2005) and Phone Booth (2002). That movie was so bold and original for a studio film. The movie that inspired me to get into filmmaking and visual effects, is Fight Club. For writers interested in this topic I can highly recommend a guide book, Adapting Sideways by Charlotte Cook and Jon James Miller.ĬW: Like most of us, it started with a love of movies, or storytelling in general.
A feature script is also held to a higher standard in terms of formatting. Novels, on the other hand, can even change tense or point of view as long as it feels logical to the reader.
Yet in screenplays you have to tell a story in a very concise way. IFJ: For screenwriters who are interested in writing novels, can you tell us some of the similarities and differences in the way you approach each type of writing?ĬW: Screenplays are all about what you see and hear, in relation to what will hopefully become a movie someday. Novels are able to explore so much about the internal thoughts and emotions of your main character and the book is the final product. In novels you have more liberty as a writer, you can take fun detours away from your A-story as long as the reader finds it entertaining and relevant. My reply was “I better write this then!” Adapting the feature into a novel was a great experience, it allowed me to expand on the scope of what we did in the movie. The big difference being there are no budget or physical limitations to one’s imagination.Ĭam-Girl is character driven to begin with, so the narrative was easy to convert into the internal prose we love in novels. Most importantly, contributions that our actors, such as Erin Cline and Joe Coffey gave in their performances, mannerisms and certain visuals became part of the novel and only made it stronger. I hope to re-publish the book with the title of Cam-Girl. I sent them the trailer for the movie and they said, if you write an adaptation, we’ll publish it. Right after the movie was released I saw an online posting by a small indie publisher, which is now closed for business, that was looking for novel adaptations from existing features. What was it like adapting your own work?ĬW: Surprisingly, the movie came first. IFJ: You’re credited as both the screenwriter and the author of the related novel Box Cutter Killer.
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